More than a decade after the government officially declared film as an ‘industry’ in April 2012, Bangladesh’s mainstream production landscape still shows little sign of true industrial revival. Apart from Jaaz Multimedia and Alpha-i, no other production house has emerged as a consistent player capable of regularly releasing feature films.
Industry veterans often recall the 1980s and ’90s as Dhallywood’s golden era, an age when multiple production houses dominated the market and drove the industry forward. Alamgir Pictures, SS Production House, Masood Kathachitra, James Productions, Rajlokkhi Production, Anondomela Cinema, and Omi Boni Kathachitra routinely competed to secure festival and Eid release slots. Today, that competitive landscape has shrunk to just two major players.
Why then, despite the entry of many new producers, does no one stay for long?
Industry insiders point to a fundamental problem: the lack of an investment-friendly environment. With no stable mechanism to recover capital, new producers quickly lose confidence. The absence of supportive government policies, coupled with poor infrastructure, especially the decline of cinema halls, continues to repel investors.
Film journalist Mahfuzur Rahman notes that once, Bangladesh had hundreds of active halls that ensured producers could recover at least part of their investment.
“Now, with only a handful of cineplexes running, investors do not want to build new theatres. The core issue is the lack of strong government policy that encourages infrastructure development,” he says.
Rahman also mentions that international investors, including some from India, have shown interest in the Bangladeshi market, but the response from authorities remained lukewarm. He adds that the decline in the social prestige once enjoyed by producers and cinema hall owners, especially after the rise of ‘cut-piece’ films in the 2000s, has further discouraged new entrants.
Another major obstacle, he believes, is the industry’s failure to create new stars. “We no longer have the ecosystem to develop good writers, directors, or actors. Once, FDC used to produce artists. That continuity is long gone. We urgently need a proper film institute,” Rahman emphasizes.
Shaheen Sumon, President of the Directors’ Guild, echoes this concern. Without adequate theatres, he says, it is unrealistic to expect new production houses to survive. “If a producer incurs losses, they stop investing. When newcomers see that, they walk away.”
He stresses the need for direct state intervention: “The highest levels of government must pay attention to cinema. Markets should be mandated to include cineplexes. Grants should follow a proper policy, not token allocations.”
“For example, the government could offer Tk 20 crore in interest-free loans for 20 films and recover it through controlled FDC releases. This would encourage new producers, new directors, and better films.” according to Shaheen Sumon.
For now, the dream of rebuilding a vibrant professional production ecosystem remains stuck, waiting for policy, infrastructure, and vision to align.
